December Completed

December was a busy month for me, not just for photography, and of course there was Christmas and all that. Although I enjoy the food and the presents and family events etc it does get in the way a bit, particularly as most of this country now seems to close down for around ten days from Christmas eve to a couple of days after the New Year.

That week when most of the country seemed to be either dozing at home or fighting at the sales I was taking pictures most days, though some of them family images that I don’t  normally make public. But here are a couple of very different images from between Christmas and the New Year.

© 2011, Peter Marshall

One of many pictures that I took in Kensington High St, as close as protesters can get to the Israeli embassy down a private side-street, at a protest on the anniversary of the Israeli attack on Gaza, Operation Cast Lead, in which 13 Israeli soldiers and between 1000 and 1500 Palestinians, mainly civilians were killed. It’s an asymmetry that I think needs to be kept in mind when Israel talks about self-defence.

© 2011, Peter Marshall

A day later I was in Whitechapel and photographing the Royal London Hospital. Like the above image it was taken with the D700, but while the demonstration image was a single exposure with the 16-35mm f4, this is stitched together from around a dozen, all made at the wide end. I’ll probably retake it at some time, as I would have liked just a little more foreground, and there are just a few minor stitching issues.

One of the problems is that there is no way to lock focus on the lens, which was manually focussed at infinity, and it is very easy to knock the focus ring which is close to the nodal point near the front of the lens. And this was taken hand-held without a tripod (I hadn’t expected to need one), which in any case makes it tricky to keep that nodal point in a fixed position between exposures.

The easier way to work would be to use a semi-fisheye lens to get a similar angle of view, although this results in rather smaller files than the 36Mp from which the small version above was produced.

More pictures and stories from last month are on My London Diary – and here are some links.

December 2011

Surrey Hills Walk
End The Siege Of Gaza
Staines & Stanwell Moor
Syrians Protest at London Embassy
Egyptians Protest At Embassy
Bradley Manning Birthday Demo
Iraqis and Syrians Protest At US
Congolese Protests Continue
Kurds Call For A Stop To Syrian Massacres
UK Uncut Xmas Protest At Vodaphone
UK Uncut Xmas Protest At Topshop
UK Uncut Santa Calls on Dave Hartnett
Congolese Election Protests Continue
London Night
10 Years Stop The War Book
Mumia Abu-Jamal 30th Anniversary Protest
USA Climate Treaty Wrecker
London Wandering
Congolese Protest Against Kabila Vote-Rigging
Stand Up For Climate Justice
Occupy LSX Climate Justice Workshops
City Xmas Celebrations
Britain First Support Emma West

More on Saturday

Continued from Last Saturday Everything Was Happening

From Topshop, I ran along Oxford St towards Vodaphone, which company had been voted for by UK Uncut supporters as the main target of their ‘Christmas special’. By the time I arrived, they were being prevented by police from entering the store – and UK Uncut are peaceful protesters who wouldn’t try and push their way in, so they simply gathered on the pavement outside.

There was plenty of room for them, as this section of Oxford St is currently one-way, with just a single lane fenced off at its centre, leaving a much wider than usual pedestrian area.

After chanting the indictment against Vodaphone, who it now seems have dodged not just the £6billion that UK Uncut originally alleged, but actually £8billion (or eight thousand million pounds in old-fashioned English)  using the human microphone we’ve become used to from the Occupy movement – with one person reading a phrase which is then shouted out by everyone else – slow, tedious but remarkably effective – they then turned to singing UK Uncut’s Christmas Carols with suitably different lyrics to some familiar tunes.

© 2011, Peter Marshall
Carolling at Vodaphone

I tried hard to get the idea that people were singing, and also to show where they were singing and getting the odd Santa hat, particularly with messages about tax was a bonus.  Taken with the D700 and 16-35mm at 17mm, f5.6 gave enough depth of field. I used a fairly high ISO to get a reasonably fast shutter speed. On the full-size original you can read the words on the carol sheets, though I made sure to get a copy so I could quote from it in my story on Demotix (which will appear later on My London Diary.)

After that, the protesters even started dancing, but after taking a few pictures I decided I could leave and go elsewhere – which meant catching a bus towards Downing St.

On my list of events I had a protest listed by the Congolese, but the main group present when I arrived were Syrian Kurds, supporting the protests in Syria and calling for a ‘Free Syria.’ They were using both the old Syrian flag from the days when Syria gained its independence and also the flag of Kurdistan, and calling for the revolution in Syria to produce a federation in which the Kurds would gain recognition (many of them are stateless in Syria, and subject to laws against their language and traditions.)  It seemed to me important to try and show both flags together where I could.

© 2011, Peter Marshall
Kurdistan and Syrian Freedom flags opposite Downing St

Flags at protests often make the pictures more interesting, but they can also be very frustrating, and it took a few frames to get one with the flag at the top  which was being waved around blowing out well.

Just a few yards away there were a few Congolese, but it was only half an hour after their protest had been timed to start. Probably more would turn up later, but since I thought it unlikely I would be back I took some pictures. The big attraction in several ways was the dancing, mainly by some of the women, and I was especially attracted by one  of them wearing a blue shirt with the yellow and red stripe and yellow star of the Congo flag.

© 2011, Peter Marshall
Congolese men pose for a photo

But as I was preparing to leave, I saw a group of four of the men posing for a photograph. Although I don’t like to pose people – it’s interfering with the event – I’ve nothing against taking pictures of groups that the protesters themselves have set up, and I went across and they were happy for me to take aphotograph as well, playing up a little for the camera.

I was pleased it was a fairly slow bus ride from Whitehall to Bond Street, giving me time to have a little rest and finish my late lunch, although just a little worried that I might be too late at the US Embassy where I knew the friends of Bradley Manning were holding a vigil. But when I arrived, not only were they still there, but there were two other groups protesting.

© 2011, Peter Marshall

The other protesters – pro-regime Syrians and Iraqis together with some people from Stop the War – were united in protesting against US intervention in their region. The Syrians wanted an end at attempts through the UN and other ways by the US to intervene in the actions their government is taking against what they call terrorists, while the Iraqis were celebrating the defeat of the US army, whose last active troops were leaving that day (though they were calling for the various ‘advisers’ and mercenaries also to go.) Both were united too in condemning the BBC and other media for telling lies about their countries.

© 2011, Peter Marshall

Overall I couldn’t really find images that were strong, but there were a few individuals who I think told the story well.  It was really much the same with the vigil for Bradley Manning.

© 2011, Peter Marshall

Finally, I strolled down to the Egyptian Embassy, only to find 3 rather bored looking police and no protest. I was a few minutes early, so I took a walk around the block, and when I returned on time there was one man there. It was cold and I wanted to go home, but a couple of other photographers had arrived, so at least I had someone to talk to. After 20 minutes or so a few more protesters had arrived and they decided to start, and so did I.

There was really very little light, and even at ISO3600 the ambient in the pen where the protesters were standing was giving me readings like 1/4s f4. So most of the pictures I took were with flash, though I did play around a little without. I don’t like just using flash, because in photographing these kind of events it isn’t possible to play with multiple light set ups. You could work holding the flash at arms length, but I actually prefer the effects you can get with it on camera. I’ve experiments a little with using larger diffusers – and used to use these with film, but with the SB800 I don’t find they make a great deal of difference.

© 2011, Peter Marshall

Flash doesn’t really work – except for fill – on the P setting on the Nikons. My best results come from working in S mode, with a fixed shutter speed. By selecting a suitable value you can get usually get a decent balance between flash and ambient, and in these dim conditions I found 1/20 a sensible compromise. This left the 16-35mm at maximum aperture (f4) which is fine. Some of the images are sharper than others, depending on the amount of movement of both photographer and subject. Personally I think I preferred a bit of blur, as in the picture above, but I think I used a similar but overall sharper frame for Demotix.

Fuller stories from Saturday are on Demotix – and will be posted later with more pictures on My London Diary.

MY DEMOTIX LINKS FOR 17 DEC 2011

UK Uncut Santa Calls on Dave Hartnett
UK Uncut Xmas protest at tax dodgers Topshop
UK Uncut Xmas protest at tax dodgers Vodaphone – London
Syrian Kurds In London Call For Stop To Syrian Massacres
Congolese Protests Continue in London
Iraqis and Syrians Protest At US Embassy – London
Bradley Manning birthday demonstration at US Embassy
Egyptians protest in London as Cairo troops attack protesters

Stop The War Oct 2002-March 2005

Continuing from the previous post, here are more of my pictures that made the final edit of ‘Stop The War: A Graphic History‘ and some of which are in the book (I think 4, though not always too easy to spot.)

© 2002 Peter Marshall
October 2002, Parliament Square

© 2003 Peter Marshall
September 2003, Trafalgar Square

© 2004 Peter Marshall
May 2004, Embankment

© 2004 Peter Marshall
May 2004, Bridge St/ Parliament Square

© 2005 Peter Marshall
March 2005, Park Lane

© 2005 Peter Marshall
March 2005, Hyde Park

I’m not sure whether the fewer pictures selected after 2002 represents a greater number of photographers taking (and submitting) images or just that most of us do find work we shot on film rather harder to fined than digital images. I took rather less in the first few months for health reasons, missing the major event in February completely. The black and white Halloween image was taken using flash and I suspect I probably used an Olympus OM4 which had better metering than any of the rangefinder cameras.  At the time I was also probably using a flash meter, though there just isn’t time to do this when things begin to happen.

All of the colour here is digital, and I started working with a Nikon D100 in December 2002. At first my choice of Nikon lenses was very limited – just a Nikon 24-85mm zoom. Back then too, sensors seemed to pick up dust with ridiculous ease, and we didn’t like to change lenses. By 2004 I also had a Sigma 12-24, for the D100 which I was used for the two pictures above from that year, both at 12mm.  The 2005 images were both taken with a Nikon D70 and the 18-210 Nikon, with the ‘coffin’ picture using its 18mm (27mm equiv.)

I think that the rangefinder cameras were better for my coverage of events such as this, and it took me a while to get used to the difference. But being able to see clearly the area surrounding the frame in the optical viewfinder is really a great advantage. It also took me quite a while to build up the set of equipment that let me really bring out the potential of the Nikons.

I still have the D100, though in recent years I’ve only ever used it as a pinhole camera. The viewfinder was really small, dim and poky compared to film cameras. The D200 was a great deal better but still poor. Although I don’t think you need ‘full-frame’ to actually take decent pictures, the larger sensor also results in a much better viewfinder in the D700.

Although the D100 was only a 6Mp camera, the files it gave with a good lens at low or moderate ISO were good, and with good software to increase the file size can give some pretty impressive big prints. One of mine has gone to 2.3 metres wide, and doesn’t look bad, though probably the D700 would have done a better job with its 12Mp.  Above that size I have a feeling that unless you can get better glass  there probably isn’t much to be gained.

Stop The War – Nov 2001-Sept 2002

© 2001 Peter Marshall
December 2011, Hyde Park

I think I have around a dozen images in the published version of the ‘Stop The War‘ graphic history (see previous post), around half of those that I was asked to send in as high-res for the final edit. I’d covered many if not most of the events that took place in London over the years, though I had to miss the huge event in February 2003 as I only came out of hospital in a very weak state the day before and could hardly walk.

A crop of the image above, taken in November 2011 is at the start of the section of photographs, although for me it still works better as the full image. When we were first asked to send in small versions of our files, we were told to limit it to at most 3 pictures from each event, and this was sometimes difficult, though there were other events I’d photographed for which I didn’t feel it worth sending in any. There were also some events, particularly local ones – for a time a small group of us protested every Friday evening rush-hour on a busy local road with slow-moving traffic – that I don’t think I took any pictures of. There I was more useful holding a placard.

I thought I would post my own pictures that are in the book here in their original state -without cropping and in colour where they were taken in colour. I’m also thinking of putting together a Blurb publication showing rather more of my work over the ten years of Stop The War, a kind of personal companion to the official publication. I thought first of using the selection of pictures that I made initially for Stop the War – around 75 images – but on reflection I think I should go through my files again using my own criteria for choosing the images rather than theirs, though I’m sure most of the pictures will be the same.

In this and the next couple of posts I’ll use the set of pictures that made it to the final edit, and of which around half were used. If you buy the book you can see which of them made it there, and also how they were used. There are a couple I didn’t recognise as mine when I first saw them.

© 2001 Peter Marshall
December 2001, Trafalgar Square

© 2001 Peter Marshall
December 2001, Hyde Park

© 2002 Peter Marshall
March 2002, Park Lane

© 2001 Peter Marshall
March 2002, Trafalgar Square

© 2002 Peter Marshall
May 2002, Hyde Park

© 2001 Peter Marshall
May 2002, Hyde Park

© 2002 Peter Marshall
September 2002, Embankment

© 2002 Peter Marshall
September 2002, Embankment

© 2001 Peter Marshall
September 2002, Park Lane

I think most of these black and white pictures will have been taken using either Konica Hexar F, though for some I might have used a Leica M2 or Minolta CLE or the Konica Hexar RF. They were all taken on Ilford XP2 (by then it might have been ‘Plus’ or ‘Super’ or something), about the only black and white film I used for quite a few years, usually developed in normal C41 colour neg chemistry along with my colour film.

The Hexar F had a fine fixed 35mm f2 lens and had a virtually silent shutter  mode. My only problem was knowing if I had taken a photo or not! If you were happy with the 35mm lens, it was an ideal street photography camera, and had virtually zero shutter lag if used (as I normally did) with manual focus at around 2 metres and a sensible aperture and shutter speed. If time allowed the autofocus was reasonably fast and accurate. One thing that had me fooled for years is that it was only too easy to hold it so that a finger obscured the exposure sensor. I had it serviced by Konica three or four times because of incorrect auto exposure before I realised what was happening.

The Hexar RF I more usually had loaded with colour neg film, typically Fuji 200 or 400. It was in most respects the camera the Leica ought too have made as the M7, with better film loading, much improved exposure metering, motor wind on (you could even shoot at 2 fps) and a more modern shutter with faster speeds and flash synch.  The shutter was however noisier than a Leica, and although it was solid, the build wasn’t quite up to the old M series (more like the M8 in that respect.)  It also didn’t match the huge price of the Leica, though it wasn’t cheap. But I think it was more responsive than a Leica and the viewfinder seemed more accurate. Despite rumours spread among the Leica forums at the time, it worked perfectly with every Leica and Leica-fitting lenses I tried on it.

Photomonth’s Photo Open

Finally I’ve got around to putting the some of the pictures I took on November 3 at Rich Mix in Bethnal Green, where the East London Photomonth was holding its open exhibition, the Photo Open,  and also having a party, though I left before that got started.

The Photo Open is a completely open show, “open to all kinds of photographers and exhibits a wide range of subjects and approaches” with a small fee (£10 / £5 for concessions) for each image submitted. All of the images sent in are projected as a part of the show, with a relatively small number – around 20 or 30 – selected to be printed and put on the wall. The show is sponsored by theprintspace, who make these prints.

I’d taken both the Fuji X100 and also the D700 with me, as I was calling in at St Paul’s Cathedral to  photograph OccupyLSX there on the way to Bethnal Green. Unfortunately it had started to rain just as I arrived there and I’d only taken a few pictures, not actually getting out the Nikon which I had intended to use while I was there.

I’d thought the Fuji would be ideal if I wanted to take a few pictures at the  opening of the Photo Open, mainly with the idea of posting some here – as I did  here in Photomonth Photo-Open 2011 on November 4th.

At the time my computer was broken and away for repair, and I was relying on a fairly ancient notebook with very limited software, and in particular not enough memory to either run Lightroom or Photoshop. I’d set the Nikon to produce jpegs as well as RAW files, and relied on an ancient copy of ACDSee and image editor FotoCanvas to process the Fuji RAW files.

Now that computer is back, though it’s just died again, but I have a new one, and have just processed the RAW files and put a larger set of the images from the evening on My London Diary.  Its perhaps interesting to compare a few of the images:

© 2011, Peter Marshall

© 2011, Peter Marshall

Of course there are choices that I’ve made to present the images differently, and in particular to make the images rather brighter and cooler, but the upper images of each pair more or less reflect the jpeg that the D700 produced.

© 2011, Peter Marshall

© 2011, Peter Marshall

The last images I’ll post are from the Fuji.

© 2011, Peter Marshall

This is an image processed by Lightroom, and I didn’t use any from the Fuji in my original post here on Re:PHOTO. But what I can show you is the difference between a file saved from the RAW image in Irfanview and below it one processed in Lightroom. The Irfanview file was quite a bit darker, so I’ve adjusted the levels in Photoshop to be similar. By mistake these are adjacent files, but very similar, taken within seconds at the same camera settings.

© 2011, Peter Marshall

© 2011, Peter Marshall

I’m not quite sure what this proves, though perhaps it does show why I like to work with RAW files and use Lightroom.

A Small Tech Tip

Yesterday I was standing in a crowd waiting for an as then unspecified protest to occur, and having taken a few pictures was passing the time of day with one of my most experienced (and talented) colleagues. Who was saying that he didn’t know what was wrong with his Nikon, it just seemed to be all over the place with exposures, and he showed me a few.  I’ve been there and done that and was able to tell him that somehow he had managed to turn the camera’s auto-bracketing feature on.  Fortunately it was only giving plus or minus one stop, so the results were at least largely salvageable.

© 2003 Peter Marshall

Life is generally too short for bracketing, and much of the stuff I take there isn’t a chance of a second or third shot. I can just about think of situations where I’ve found bracketing useful – long ago when I was shooting Christmas illuminations for example, and it was really very necessary to combine separate exposures of the same scene because of the extreme dynamic range in making images like the one above (which would have been a lot easier if HDR software had been around.) But mostly ‘HDR’ in photography seems just a way to mess up the tonal range and sometimes I think is only needed for people who don’t know how to use Lightroom on their RAW files. I very rarely find a scene that the D700 can’t cope with with a little help in post.

So just in case the elves in my camera decide to switch on bracketing when my back is turned (usually they just think it’s fun to set silly shutter speeds) I use the Custom Setting  – its e5 on the D700 – to put bracketing on white balance. When you take RAW images, white balance makes no difference other than recording the value somewhere in the file, and it’s simple to put right in Lightroom.

Incidentally, writing RAW in capitals distinctly annoys some pedants, who a) have nothing better to do, and b) suffer from the delusion that only TLAs should be capitalised and RAW is not an acronym. No, it isn’t, just a name that is conventionally in capitals, and the rule is simply one some nerd thought was how things ought to be. And I think it’s always a good thing to annoy pedants, especially those who tell me I shouldn’t begin sentences with ‘And’. Or ‘But’! Or ‘Or’.

Nikon Worries

My Nikon D300 gave up on Saturday, while I was photographing a march by Egyptians in London. It happened when the camera got a little knock as I was climbing down from a box on the street. Nothing significant, but it fell around six inches and bumped the side of it.

There was no obvious extra external damage, and I thought if anything I had damaged the lens, as when I tried to focus the 18-105 which was on the camera it hunted around a bit before coming to a halt decidedly out of focus.  I put the camera back in my bag and continued working with the D700 and 16-35mm, and hardly noticed the lack of anything longer the rest of the day. If it had been working there would of course have been pictures I would have made with it, but I’m not sure my photography really suffered. I suppose I could have continued working on it in manual focus, but really the viewfinder just isn’t good enough for that.

The next day I put another lens on the D300 body and found it too failed to focus, while the 18-105 seemed to be working fine on the D700. It was the body and not the lens that had a problem, and it was one that made it more or less unusable.

I spent a couple of days wondering what to do. The D300 has seen better days, and has been knocked around quite a bit. I did a check on the shutter count (on-line by loading one of the .NEF files I did make with it on Saturday to My Shutter Count.com as I automatically strip some less essential Exif data from my jpegs, and the software I have currently installed on my new computer doesn’t read it from raw files) and found it was at around 158500, more than the rated life of 150000. The screen on the top plate has been broken since early summer and much of the rubber on the body is peeling. The top speeds no longer work properly, as I found when photographing swans in July, and I’ve been suffering more recently from the occasional exposure with half the picture covered in nasty coloured lines and the odd image that has an ‘unexpected end of file‘ or gives the annoyling vague Lightroom message ‘there was an error working with this photo.’* All in all it’s in rather a mess, and I shudder to think how much it might cost to get it fixed.

The D300 cost me £969 in April 2008, so it is coming up to 4 years old and it has seen reasonably intense use in that time. That works out at around 0.61p per exposure for the body, which has not been repaired or serviced in that time, so I wouldn’t feel bad about ditching it now. The sensible thing would probably be to get an estimate for repair and then sell it secondhand, but so far I’ve just wasted a lot of time thinking about its replacement.

Everyone on the web seems to have been expecting Nikon to announce a replacement for the D700 for some time – with very strong rumours in recent weeks that the D800 might emerge from under wraps at the end of this month, although these are now being discounted. New products have been held up and the supply of cameras and lenses seriously affected by the flooding at Nikon’s factory in Ayutthaya, Thailand, where all DX SLRs have been made since 2009, along with most of the DX zoom lenses, although the FX D800 will presumably be made elsewhere, probably at the Sendai Japan factory which earlier this year was closed until the end of March following the 11th March earthquake and tsunami.  But in any case it seems likely that it will be very expensive – I’ve seen a figure of $3600 mentioned. And if the strong rumour of it being 36Mp turn out to be true, I’m not sure I need it.

Nikon’s direct replacement of the D300, the D300s, offered few advantages. Better to get my old D300 fixed than go for that. Its replacement is also overdue and was once expected about now. At the moment the most attractive of the available Nikons to me seems to be the D7000, with slightly better image quality in low light than the D300 and some other minor advantages. As usual, the review I found most worth reading comes from Thom Hogan. It’s also just a bit smaller, lighter and cheaper. I came close to spending around £830 on one yesterday.

But today, while thinking about writing this piece, I had another play around with the ailing D300, trying it out on manual focus and in the two autofocus modes, verifying the lens still made the right noises for VR and so on. And suddenly it just started working again, as if something had somehow fallen back into place, and I was looking at a sharp image in the viewfinder (though a rather boring one.) I took a few images with brick walls in them and things seem to be pretty sharp. So perhaps I’ll give the D300 another chance until the next time it falls to pieces. By then Nikon might have their  new models out.

_______________________________________________

© 2011, Peter Marshall
Lightroom refused to work with this D300 raw file, but Irfanview had no problems and Photoshop finished the job.
Halloween in London, 2011.

* ‘There was an error working with this file’ and other error messages may simply be Adobe software being very picky about the files that it will open – and perhaps might be replaced at least in some cases by the message ‘Lightroom couldn’t be arsed to open this file.’

You may still be able to get a usable image from the file – as with the picture above – using other software, such as Irfanview, free for non-commercial use to extract to a high quality jpeg and then adjusting that in Photoshop. And even if you can’t extract the image from the RAW data, the included jpeg (used for displaying the image on the camera screen) may still be ok, although these are usually ‘basic’ quality and sometimes smaller than full size. You can download the free IJFR – Instant JPEG From RAW Free Utility from Michael Tapes’s RawWorkflow site – register there to be sent the download link. It’s a handy way to very quickly generate a whole set of jpegs from any set of RAW files.

Lea Valley Gets New Life

The Lea Navigation has always been teeming with life, but in the early years I went there it was mainly wild, both in the water and on the banks, where paths on the back rivers were often blocked by rampant brambles, vicious nettles and other weeds, and home for a wide range of birds and insects. But you could often walk for a mile or two and not see another person, enjoying what was then an inner-London wilderness.

© 2011, Peter Marshall

Now the area has been tamed, domesticated and generally tidied up, and most of the life seems to be guided walks and people on bikes with enough gears to face Everest.  There were several boats full of people on Saturday afternoon tours too. The area may be rather less interesting than it used to be, almost sterile (and thousand of tons of its earth covering dug up, sterilised and then replaced anywhere on the site) but it is now a visitor attraction, part of the London tourist trail.

© 2011, Peter Marshall

As I walked along the Greenway (itself an earlier marketing revision of the Northern Outfall Sewer) overlooking the London Olympic site, a couple of Japanese held out a camera towards me and asked if I would take their photograph. Of course I obliged, though I find these compact digitals with an invisible image on the screen at the back hard to manage.  A few yards on, I photographed a man taking a picture of his young son on a rather arty looking seat with the stadium in the background.

© 2011, Peter Marshall

Going past the stadium was a man in a hurry, perhaps practising for the Olympics, though more likely trying to keep fit. The atmosphere on the Greenway was quite different to that a year or so ago, when every few yards there was a security man, and photographers sometimes got harassed. There were a few about, and one did come and tell me I couldn’t take pictures, but it was his idea of a joke, though given my many previous experiences I wasn’t over-amused.

© 2011, Peter Marshall

I’m not quite sure why his colleague was flying, but these things happen. I was actually there to take part in an event with four other photographers, all talking about our work around what is now the Olympic site – and in my case particularly about the book ‘Before the Olympics’ – but I’d brought the D700 and a couple of lenses with the aim of making a few panoramas, and I took a few other pictures as well.

© 2011, Peter Marshall

This isn’t perhaps the most interesting of those I made – and you can see these as well as the other work from the afternoon in Lea Navigation & Olympic Site on My London Diary.

The picture above, which shows a new suspended footpath that goes under the Bow flyover, has the file name 20111001-d0120eqr209-900s.jpg which is perhaps rather a mouthful, but a good illustration of how I’ve now taken to naming these panoramic files.

  • 20111001‘ needs no explanation, simply the date in the order that sorts correctly.
  • ‘-d‘ is really a hangover from the days when photographers used film and any scans from my colour negatives would have a ‘c’ in the filename to remind me they were colour. Now everything is digital, so perhaps I don’t really need the ‘d’.
  • 0120‘ is simply a sequence number, allocated by Lightroom to my digital files in the order that they are imported (most days these start at 0001.) This particular panoramic image was actually stitched together from seven exposures, numbered 0120-0126, and takes the number of the first in the series (all of which were vertical format 16mm images on FX format.)
  • ‘eqr’ is a three letter short form of the projection used, in this case equirectangular. Other possibilities include ‘rec’ (rectilinear), ‘cyl’ (cylindrical.  ‘ved’ (vedutismo) etc.
  • ‘209’ is the horizontal angle of view when I stitched the panorama; sometimes the actual angle in the image may be slightly less due to a little cropping, but it gives a good indication. Images do rather more often get considerably cropped top and bottom after processing to give a straight edge, so I decided there was no point in including the vertical angle of view in the name.
  • ‘900’ is the width in pixels. I don’t give the width for the original full-size file, so this is one way of specifying that this is a reduction.
  • ‘s’ stands for ‘sRGB’.  AdobeRGB is my default work space both in camera and in Photoshop, and files that end without a letter are in that default space.

This is a naming convention that I’ve found very useful, although there are some things that it doesn’t tell me, and others might like to use longer conventions, that would include things like the focal length, camera orientation, number of separate frames etc. But  20111001-d0120eqr209-900s seemed to me a good compromise.

Time Changes

I’ve been having problems with time on my cameras recently. It comes from using two Nikon bodies on most of the events I cover, the D300 and D700, and the need I feel to synchronise the time on the two of them.

When I get home from taking pictures I import the pictures from the CF cards onto my hard disk and an external hard disk, putting the images from both cameras into the same folder, renaming them so that they have a sensible and unique file name. Something incidentally that I just don’t understand why Nikon doesn’t incorporate into the firmware. It seems silly just to basically number them from 1-9999 and then start again. For most purposes it would seem to be useful and sufficient to allow photographers to choose a suitable naming convention which avoided duplication. My own preference would be yyyymmdd-xnnnn, where yyyy is the year, mm the month, dd the day, x a single character camera identifier and nnnn a sequential number, which is basically how I do things in Lightroom, except without the camera id digit which isn’t needed in that case.

Lightroom and other software can put the images in the order they were taken when you use more than one camera only if the times are synchronised. Another suggestion I’d like to make, this time to the writers of Lightroom would be to be able to lock the order it shows images in a folder by time. You can sort them this way, but sometimes it decides you want them in some different ‘user order’. I never do.

If your cameras have a different time, sorting on creation time will put your images in the wrong order, and it can be very annoying. So a couple of weeks ago, when I found the two bodies had somehow drifted to a few minutes different I spent a tricky ten minutes trying to synchronise the two bodies. And after quite a lot of button pushing and swearing sat back and relaxed when the two displays both changed with their hours, minutes and seconds in synch.

Unfortunately, when I next uploaded images to Demotix I got an error message complaining about the date on the images. After a little poking around I found that I had pressed at the wrong time at some point, and one of my cameras was now working in 2012 rather than 2011. I put it right. Then uploaded some more only to find I still got the complaint. Yes, they were 2011, but the month was 11 rather than 10, and with a few more button pushes things on the camera were fine.

Normally I would have noticed immediately I uploaded the files, as my import settings mean they would have gone into a different folder. But since my main computer was away for repairs I’d had to use my notebook, which hasn’t enough memory to run Lightroom.

It would of course be possible to make cameras automatically keep correct time (and change to and from Summer Time) but I don’t know it would be a good idea. I have a travel alarm clock that does so, which is fine so long as I only travel in the UK, but when I go abroad and set it to the local time, it keeps on that for a while to fool you, then changes back to UK time in the middle of the night, which can be fairly disastrous. So now I leave it at home. But perhaps the clocks could be more accurate – there is a drift of several seconds a week between the two bodies.

End of Summer Time

This morning as you will have noticed (unless you are in Russia) you probably put your clocks back and hour. Depressing, though I welcomed the extra hour in bed, we now have to suffer those early dark nights. Fortunately my alarm clock does that kind of think automatically, but my cameras don’t. So when I stop typing this, I’m going to go and tell them we are no longer on summer time. If you haven’t yet done so I suggest you do too. It took me a month or so to get round to it last time we changed the clocks. 

Actually I did this one one body by mistake yesterday. So the pictures I took on one camera all think they were taken an hour earlier than on the other.

Changing Times

Fortunately it’s easy with the right software to change the creation date, and to do it as a batch process so that if you correct one image all the others selected have their date altered by exactly the same amount. I did some on Lightroom and some with my default image browser, ACDSee Pro, which I also find easier to use when adding IPTC captions to my pictures.

Sample Variation

I’ve always had my doubts about the hugely detailed lens reviews stacked with charts and graphs that some magazines and web sites publish. One of their limitations has almost always been that the tests were carried out on a single example of the lens, and that would not be the one that you would buy.

Most of the magazines relied too on the manufacturer lending them a lens to test, rather than getting one as we do by the fairly random process of buying them. I’ve always thought it likely that the manufacturers might be fairly keen to make sure that reviewers don’t get a ‘Friday afternoon’ lens – and these do exist.

There used to be one camera retailer in London who would perform their own tests on lenses and sell them with their own test certificate, but I think now even the best dealers never open the boxes before sale.

Fortunately bad examples are not too common, but if you do get one it can be far too difficult to convince the dealer or importer to replace it. Years ago I did get a very poor example of a small fixed lens camera, and eventually did get a replacement, though the company (and it was one of the best names in photography) did at first try to brush me off with a letter saying that they did not guarantee any particular performance standard with the camera concerned.

In Notes on Lens and Camera Variation Roger Cicala examines the problem in some depth, using ” 6 or 10 copies of each lens” that his rental company buys and which his “staff of excellent technicians” test  “between every rental.” Recently they have set up a computerised system using Imatest which has enabled him to examine in detail the problem of variation between different copies of lenses and cameras.

One of the first conclusions he shows is that the sample variation in lenses means that when comparing lenses from two different makers it would be possible for one conscientious review to find lens A better and another to favour lens B.

He continues by looking at how problems with focus can affect performance, and shows that using autofocus leads to a spread in performance recorded for a single lens. Poor results from a lens can be because of poor autofocus, and some lens designs are less consistent in autofocus than others. Using manual focus in live view he found both more accurate and also more consistent than autofocus. You can of course improve autofocus with cameras that allow you to correct for individual lenses.

There is more to this in the article, as well as much more detail, and I find it a little hard to see what all this means practically. One thing that it seems to show is that although the really bad examples of lenses stand out in these tests, otherwise the differences are relatively small and are often not reproducible. Eliminate those rogue lenses and the rest are more or less as good as each other. But I think Cicala’s results also suggest that many of us are too worried about differences in results that are simply not important. We need to get out and make pictures and not worry too much about minor differences that are only apparent at the pixel level.

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